Weeks 5 and 6
Princess Mononoke
1) What is the ‘shojo’ and how does it often function in anime?
2) According to Lent
(2000) what place does animation occupy in Asian societies? How different is
this across Asia (i.e. comparing Japan and China)?
3)Is anime a high or low cultural genre/media, according to Napier (2005)? What are some of its subgenres?
4)Does Anime confront social issues? Gender roles in
Princess Mononoke.
What is the ‘shojo’ and how does it often function in anime? – Princess Mononoke
ReplyDelete“Shojo stories are serenely dreamy and bathed in an atmosphere of magic and wonder.” (Cavallaro, D.)
Lady Eboshi and Princess Mononoke herself are potrayed as the two powerful women in the film. The film portrays many functions which was concealed by other characters. The word ‘anime’ is not only the short form of animation but it also represents the cartoons that have originally been developed by Japan. Princess Mononoke provides and shows a display of both high and low culture which suited all viewers.
Princess Mononoke was produced in Japan by Hayao Miyazaki and being the first ever film made in Japan it was a huge deal. What was unique about this film is that it had no western culture influences in it at all. Miyazaki often wondered whether or not children would be able to understand the film due to zero western style influences. However, when the film was created, it wowed the viewers with its unique twist. Miyazaki was able to create the film to capture the attention of the audience and at the same time shed light onto problematic themes and interests for adult viewers too.
Miyazaki I feel uses the function of shojo in some films by presenting very strong heroine characters; giving young girls a sense of leadership or viewing of how strong females can really be.
The distinctive features of a typical shojo girl is illustrated and presented in a way that depicts dynamics that represent femininity, fragility, innocence, passiveness and attractiveness (Napier, 2001).
Hayao Miyazaki’s ‘Princess Mononoke’ introduces a different perspective into the typical shojo representation. It can be said that the dominant female characters San, Lady Eboshi and Moro depicts the mentioned generalised characteristics to some extent – however, it is virtually impossible to assume and state that these characters do not deviate from the stereotype (Napier, 2005). In fact, perhaps it is fair to state that they illustrated what majority assumes as typical male hero model – They are made of strong focal characteristics of aggression, ambition and action that creates a certain level of intrigue and thoughtfulness towards these them because they are women (Napier, 2001).
Cavallaro, D. (2006). The animé art of Hayao Miyazaki (p. 11). Jefferson, N.C.: McFarland & Co.
Napier, S. (2005). Anime: from Akira to Howl’s Moving Castle. Hampshire: Palgrave Macmillan.
Napier, Susan J. (2001) “Confronting Master Narratives: History As Vision in Miyazaki Hayao’s Cinema of De-assurance.” Positions: East Asia Cultures Critique. 9.2: 467-493. Print.
'Princess Mononoke was produced in Japan by Hayao Miyazaki and being the first ever film made in Japan it was a huge deal.' What do you mean by this, as it is simply not true. There is a long history of anime movies. Some good points made otherwise.
Delete3) Is anime a high or low cultural genre/media, according to Napier (2005)? What are some of its subgenres?
ReplyDeleteAnimation is often seen as a subculture in the West. However, in Japan, the huge animation export tycoon, animation has become anime which is a special term for Japanese animation. It has grown into “an intellectually challenging art form” and “a cultural phenomenon”, according to Napier (2005, p.4). Thus, anime in Japan is definitely more than a low culture. Now it might still belong to what we call popular culture or mass culture, but as John Treat (as cited in Napier, 2005) has pointed out, value is “mercurial”, which means that it changes often. Anime is experiencing this kind of change toward a cultural heritage.
According to Napier (2005), one of the reasons why anime cannot be put into the category of low culture is that the issues it covers are so diverse that it attracts audiences from different levels of culture. Also, it explores the old and the new. Some stories are rich in Japanese traditional culture, while some are full of technology possibilities. Cyberpunk and mecha are two of anime’s most popular subgenres about technology possibilities. The former one shows human’s complex relationship with future technology, and the latter is about robots having negative impact on human world.
What fascinates audience the most is probably anime’s visual presentation and complex storylines. Anime stands out because of its varied uses of camera, unlike American’s usual “action-obsessed middle-distance”, according to critics Trish Ledoux and Doug Ranney (as cited in Napier, 2005, p. 10). The complex storylines and characterisation often show “the hopes and nightmares” of rapidly-changing society (p. 11). As Napier states, “animation is both a symptom and a metaphor for a society obsessed with change and spectacle” (p. 12). After watching anime, viewers are able to reflect upon their identities in society, their use of technology, “the meaning of history”, and so on (p. 12). For example, after watching Princess Mononoke (Miyazaki, 2006), we would contemplate on our relationship with Mother Nature and the gender roles in society.
In addition, anime can be seen in daily lives and is used in different aspects. One of the aspects that Napier (2005) points out is its use in education. Viewers can get a better understanding of certain knowledge while learning it with anime’s special visual elements than with traditional textbooks full of words.
Anime is beyond a low culture because it was once used as “an icon for political resistance” in Sarajevo, Serbia (Napier, 2005, p.5). From this incident we can see how widespread anime is and what its function can be. It can have a cross-country influence in a different field.
Lastly, anime itself is a form of cultural resistance against dominant American culture (Napier, 2005). Its continuous endeavour to be different from American animation is not a low culture phenomenon and should not be taken for granted. For the reasons above provided by Napier, anime is an art form that should be taken seriously.
References:
Miyazaki, H. (Director). (2006). Princess Mononoke. Tokyo: Studio Ghibli Productions.
Napier, S. (2005). Why anime? In Anime: from Akira to Howl’s Moving Castle (pp. 3-14). Hampshire: Palgrave/ Macmillan.
Great answer, Emily. Anime also uses art forms that are part of the 'high culture' of Japan - eg woodcuts and No drama.
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ReplyDeletePost 1.
4) Does Anime confront social issues? Gender roles in Princess Mononoke
In the present of watching the animation film of, Princess Mononoke, several times, I started to notice the amount of young and ladies throughout the whole movie, according to Olowu (2013), suggest the one sided feminineness presented by the majority of female anime characters, Olowu also, suggest that Anime is notorious for its stereotypical description of female characters. However, girls can seem to play or say mystify displays, wither naïve, stupid resemblance only to show their unbelievable kind unlikeness behaviour towards a handsome hero. The word anime is not only the short form of animation but it also interprets the cartoons that have originally been developed by Japan. Princess Mononoke does show a display of both high and low culture which suited all viewers.
However, according to Olowu (2013), although cultural understanding of gender roles, it should be noted that these traits relate directly to aspects of dominance, authority and success. Therefore, Men too, are also viewed as more physically aggressive and it is assumed they place a greater emphasis of power, politics and challenging competition.
In theory the enemy of Iron Town, Eboshi seem take more advantage to what she wanted, the boar gods killed to save the forest from distinction, apparently that ended in a tragic ambush disaster, as San and her wolves were amongst them. According to Miyazaki (1997), when a boar is driven mad by a curse, that it never fears death to die itself, in doing so, Ashitaka has no choice and is forced to kill the only goddess boar, only to save his village.
Whereas, according to (Lent, 2000), suggest, that Ashitaka would became infected by the great boar a curse that would kill him. However, a wisewoman told Ashitaka, that he would die if he does not find a source of the boar’s affliction. In doing so, Ashitaka leaves for the forest. According to Miyazaki (1997) stated, it’s also the twilight of a time when gods and spirits still walk the earth.
Ashitaka also helping civilians that fell into the river, as this is where, he gets his first glimpse of San, according to (Lent, 2000), stated the present of San, the so-called Princess Mononoke. Orphaned as a child, San was raised by the wolf gods of the neighbouring forest; with the wolves and all other creatures of the forest, she now challenges war on the people of Iron Town, especially Eboshi.
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ReplyDeletePost 2.
ReplyDeleteMoments later Ashitaka finally meets with lady Eboshi, ruler of Iron Town a mining settlement, who used her talent by ordering her people to raid the forest of its trees to burn for the purpose of melting iron, a fort that was under threat by the angry gods of the forest. According to Olowu (2013), suggested that Eboshi a beautiful, slender woman played the submissive role of a distressed damsel. As Eboshi role would seem terrifying clashing with the western female stereotype according to (Lent, 2000).
However, there was confusion of loyalty to understand the animated movie of Princess Mononoke, providing the most magnificent rendered alternative to anime’s usual gender codes. Throughout this animation movie, I noticed the female characters at times interrupt femininity norms only by acting as responsible leaders and brave warriors. However, according to (Olowu, 2013), suggest, that it is necessary to evaluate the culture of gender stereotypes that would make such a deviation possible.
According to Olowu (2013), suggest, anime in China has been seen as informative and delivers pleasure to audiences. According to Lent (2000) suggested, Chinese animation draws on the highlights, the importance of material that deals with national characters, morals, an originality of the culture and applying human traits to characters. Furthermore, Lent (2000) describes animation as moulding to Asia through the use of indigenous artistic styles and techniques. Animation’s is suitable to Asian societies, para. 5, also known as the ‘Golden age in animation in China’. Anime draws vast differences in terms of its popular culture, it is seen in Japan as a ‘cultural phenomenon’ whereas in China was used mostly for political change.
Although, there were times that loyalty and love of Princess Mononoke Ashitaka and San were the main future of this animation movie. According to Lent (2013), the themes from Princess Mononoke aren't quite cut from whole cloth. These are ideas that Miyazaki has explored in animation since 1984, when he completed work on Nausicaa of the Valley of Wind, an adaptation of his serialized manga. Princess Mononoke was the last animated motion picture that only 10% of the film was digital and 90% of it was hand drawn Miyazaki (1997).
Ref:
Lent, J. A. (2000). Animation in Asia: Appropriation, reinterpretation, and adoption or adaptation. Retrieved September 4, 2012, from http://www.latrobe.edu.au/screeningthepast/firstrelease/fr1100/jlfr11c.htm
Olowu, K., (2013). Deconstructed Gender Norms in Princess Mononoke. 2013 Fall Semester. Paper 5. Retrieved from; http://digitalcommons.imsa.edu/fall2013/5
Miyazaki (1997). The Critical Eye (1999). Princess mononoke: Nature is presented in both its glory and fury in Hayao Miyazaki's epic. Retrieved September 15, 2012, from http://purpleplanetmedia.com/eye/film/mononoke.php
Lots of good points made here Oreta, and great research too! Your style is slowly developing. Always aim for clarity of expression.
Delete3 What does Brown (2001) identify as the central themes and concerns of the novel? What elements conform to the wider generic features of science fiction?
ReplyDeleteBrown (2001), discusses about Science Fiction from Casper the friendly ghost to Japan and the German holocaust wars, in relation to the novel that identifies horrific themes by Philip Kindred Dick who provides his most significant leitmotifs of science fiction, nature ratings of the good, bad and the unfortunate evil and abuse. What is fascinating though is how Dick fluxes the changes of appearance to his novels in “the man in the high castle”, using an idea apparently that would look imaginatively realistic from real scenes to science fiction, outcast to compassion and theoretically passionate themes. Dick’s empathy with which he used ordinary people with extraordinary surroundings. This would seem obvious hardship interacting themes that favours his taste of words and grasping effects that his viewers would be well entertained.
Mountford (2006), comments, Dick’s use of an ancient Chinese oracle-text, I Ching, which the ‘man in the high castle became an Award winning novel in 1962. Dick literary trialling with ‘I Ching, an oracle-text that can be defined as a symbol manifested by body of oral or written commentaries that is used in deviation.
According to Brown (2001) ‘Philip Kindred Dick an individual character, a strong minded character that has the ability to change or modify scenes of weapons laser effects. Nobuske Tagomi, which presented as the books spiritual heart and embodiment of insight and mortality of Tao. I would think that Dick’s experience as a Prophet, of his intelligent fine art work of ‘the man in the high castle has to be one of the greatest in his years of science fiction novels.
Brown, Z. (2001). Introduction. In Dick, P. K.,The man in the high castle. (p.v-xii). London: Penguin.
Mountford, P. (2006). Oracle-text in Philip K. Dick’s The Man in the High Castle. Conference paper, Popular Culture Association/ American Culture Association annual joint conference, Atlanta, 2006
Yes, your style continues its development! Again, good point come through your blog.
ReplyDelete1.What is the ‘shojo’ and how does it often function in anime?
ReplyDelete“Shojo stories are serenely dreamy and bathed in an atmosphere of magic and wonder.” (Cavallaro, 2006)
Shojo (Shōjo, or shoujo manga) is manga (Japanese animation) aimed at female reader/viewership. The word itself is literal translation for “young woman” and covers a variety of narrative styles ranging from historical drama to science fiction, often focusing on romantic relationships or emotions (Shōjo manga, 2016). The target demographic for Shoujo is girls as young as seven to ten years old to those as old as eighteen. For this reason, they can include anything from innocent girls' stories to those containing stronger material advised for more mature readers (シーバ, 2014)
2.Does Anime confront social issues? Gender roles in Princess Mononoke.
Different anime genres target different social issues. The film ‘Princess Mononoke’ was definitely classified as a ‘Shoujo manga’, but didn’t focus on the romance, unlike many other anime. Rather than dwelling on the budding romance between San and Ashitaka, the film was centred on the social issue of industrialization versus nature. In the film, Ashitaka was a Prince who travels on his own to find a cure for a curse that was put on him by a demon boar. When he arrives in Irontown, the place where he was told that a cure could be found, he finds himself in a predicament with the people of the people of the village, and their industrialized way of life, versus San, a human raised by wolves who resents human kind. From what starts out as a journey to finding a cure for a curse, ends up becoming a mission to save the forest, the forest spirits, and restore harmony between spirit world and the human world (Princess Mononoke, 2016). In regards to gender roles, it was clear that the storyline was far from the ‘boy’s own adventure’ that we see in ‘Wizards of Earthsea’ and ‘The Adventures of TinTin’, and expected to occur in the film. A prime example of this was the role of Lady Eboshi, who was seen as the, somewhat, ‘governing’ figure of Irontown. Even though she was industrialized and was determined for the village of Irontown to move forward in terms of civilization and technology, she showed compassion and love for those who were once casted out by society. She homed former brothel workers and lepers; educating them and allowing them to work in laboured factories or build firearms. Most viewers would paint Lady Eboshi as the antagonist of the film, a role usually filled by a male whose motive is usually (and only) self-concerning. However, the character of Lady Eboshi, with her gracefulness and kindness for the villagers, and those marginalized by society, can actually be viewed as one who seemed the most ‘human’ (Phill-z, 2008) because even though the execution of her plans were faulted, the mind-set of her actions were for the greater good of the people of Irontown.
REFERENCES:
Cavallaro, D. (2006). The animé art of Hayao Miyazaki. Jefferson, N.C.: McFarland & Co.
Phill-z. (2008, March 12). Mononoke Hime. Retrieved from My Anime List: https://myanimelist.net/anime/164/Mononoke_Hime
Princess Mononoke. (2016, October 25). Retrieved from Wikipedia: https://en.wikipedia.org/wiki/Princess_Mononoke
Shōjo manga. (2016, October 7). Retrieved from Wikipedia: https://en.wikipedia.org/wiki/Sh%C5%8Djo_manga
シーバ. (2014, April 2). What is Shoujo / shojo and everything you need to know. Retrieved from Jappleng University: https://www.jappleng.com/culture/articles/anime-manga/117/what-is-shoujo-shojo-genre-anime